Customer Reviews

Stolt Morse Portnoy Trewavas

5 star:		(74)
4 star:		(20)
3 star:		(11)
2 star:		(7)
1 star:		(1)

 

 

Back in the 70s, I was mildly interested in progressive rock but did not really get into any prog bands beyond Procol Harum and King Crimson. A couple of years ago, my interest in the genre was rekindled when I chanced to hear a CD by Porcupine Tree. So I just bought some prog CDs without hearing them first just to get a feel for who and what are driving forces in the genre today.
Among my favorites, I have found Spock's Beard, Gordian Knot and the Flower Kings. Its really like going back to the days of my youth. Then this supergroup project came to my attention and so I approached it with trepidation. Back in the 60s and 70s, a lot of supergroup projects were spawned to much fanfare, but few of them made any lasting impression on the music world. This CD, however, contained a cover of a song by Procol Harum which is one of my favorite groups so I just had to check it out.
It took me a while to get into it, but I found something new to enjoy every time I listen to it. Absolutely tremendous is the Procolish 30 minute six-part epic that opens the CD, All Of The Above. I don't find anything lame about the lyrics. The spirit of the song is uplifting with the tone being set by the soaring instrumental intro before Morse, Stolt and friends get down to business.
I like the rest of the CD, too, but it is the group's ambitious take on Procol Harum's ponderous second-album opus, "In Held (Twas)In I" that invites comment. To match the scope and quality of that piece would be a daunting project for the average group, but Transatlantic handles the task with aplomb. They do not try to copy it note for note, nuance for nuance. Instead, they give it their own flavor which at times is as breathtaking as the original. For a few fleeting lines, Neal Morse's voice bears a striking resemblance to John Lennon's. The last half of the song is truly inspirational. When you compare the lyrics of the rest of the album to the lyrics of the Procol Harum epic, you will see why the band chose to cover it. Those lyrics match up well with the spirit and attitude that imbues the career works of Morse and Stolt.
The keyboards and guitar blow me away, but each member pulls his musical weight, and each contributes substantially to the success of the project. If you have not yet heard Transatlantic but are a fan of any of the bands the musicians come from, you owe it to your ears to get this prog masterpiece today!

Transatlantic is a true supergroup, boasting no less than four of the finest musicians the world has to offer at present: Mike Portnoy, the monster drummer for the U.S.'s Dream Theater...Neal Morse, vocalist and keyboard player for the U.S.'s Spock's Beard...Pete Trewavas, the fluid and melodic (and highly underrated!) bass player for England's Marillion...and Roine Stolt, guitarist/vocalist for Sweden's The Flower Kings.

This massive CD (packed with nearly 78 minutes of sonic delights!) offers an uplifting selection of music that begins with the 30-minute epic "All of the Above" and ends with the Procol Harum chestnut "In Held (Twas) In I." The former is much more enjoyable than the latter, but sandwiched in between is some of the finest progressive rock played today. Or any day for that matter.

HOWEVER, there's one big caveat to this band. If you don't care much for Spock's Beard, then you probably won't like Transatlantic too much. Neal Morse's fingerprint is all over Transatlantic. Not only does it boast his unmistakable voice, but his songwriting/arranging talents are also superimposed over everything on this disc. The chord structures, time changes, even the lyrics are extremely similar to Spock's Beard.

I agree with other reviewers. Transatlantic singlehandedly revived my interest in progressive music. I was getting bored with it all, frankly. Especially Marillion. And I had never heard of The Flower Kings. When Transatlantic hit the stores, I soaked it up like a dry sponge tossed into a bathtub.

And I got into Dream Theater again.

And I discovered The Flower Kings.

And I re-discovered Marillion.

And I enjoyed Spock's Beard in a new way.

In short, with Transatlantic, I got interested in FIVE bands because of one CD. I've spent a fortune tracking down all the group's various CDs (trust me; if it hadn't been for Amazon I probably would have failed in the attempt)...and countless weeks and months enjoying them all.

All because of one CD: Transatlantic's debut.

There's something extremely magical about Transatlantic. Even the album's cover graphics are first-rate. And, as I said, it renewed my interesting in so many other bands that I had taken for granted (or just didn't know about) previous to the release of this supergroup's CD.

If you've found yourself becoming bored with music lately, if you'd like a great intro to modern-day prog rock, if you'd just like to see what all the buzz is about, pick up a copy of Transatlantic's debut (alternately called SMPT:E for Stolt, Morse, Portnoy and TrEwavas). The musicianship is exceptional. The recording quality is first-rate. And it's worthy of repeated listenings. In fact, it requires repeated listenings because of everything going on in this CD. You simply can't appreciate it all with just one or two listenings.

I really hope Transatlantic sticks around a while and not lasts just two albums like Portnoy's Liquid Tension Experiment did. Transatlantic is special indeed. Partly because it's obvious all of these musicians enjoy working together. Because they're having fun we, the listeners, are having fun, too.

Wow! This band, in terms of talent, is an embarrassment of riches. The amount of creativity, musicianship and energy bursting out of this album is simply astounding!

I've been a fan of '70s progressive rock for a long time, and I place this album alongside the classics of that era. Being a casual fan of Dream Theater, an admirer of the Flower Kings, indifferent to Marillion, and never impressed with Spock's Beard, I didn't have incredibly high expectations for this album. If anything, I expected another decent Liquid Tension Experiment-type album because of Mike Portnoy's involvement. It turned out, obviously, to be completely different! Oh my gosh! This CD captures everything that made '70s prog great and deftly blends it with a liberal infusion of modern-day musical sensibilities--it moves the genre forward while staying true to its roots, unlike so many recent prog albums that seem to be purely retro. And none of this CD sounds forced or pretentious, as the Flower Kings sometimes tend to be (imho). Not a moment is wasted, and every bit flows beautifully and effortlessly into the next.

These four supremely talented musicians clearly brought out the best in each other during these recording sessions. Portnoy is revealed as being a truly multi-dimensional drummer capable of doing just about anything. Pete Trewavas is a solid, creative bassist, Roine Stoldt is simply a genius (but I already knew that) who plays like Steve Howe only better, and Neal Morse has some great chops that mostly avoid the Wakeman/Emerson imitation trap that so many prog keyboardists fall into. Fresh, innovative, melodic, great constructions, powerful grooves, beautiful atmospherics, dynamic use of light and shade, tricky meters, and Mellotrons!

Yes should be listening to this CD, to figure out what prog *should* sound like today. Yes haven't sounded this fresh and original in more than 20 years.

Here's hoping "Transatlantic" is more than just a one-off project.

I have been a progressive rock fans since I was 13. I grew up listening to bands like Genesis, Pink Floyd, ELP, Yes, King Crimson, Camel and Tangerine Dream, ..etc. I must admit that I have been somewhat lost for the past fifteen twenty years as I cannot find the music I like in the old days.
Few years ago, I encountered Dream Theater which I found to be good but too heavy. After then, I started to listen to their fellow members side project such as Liquid tension experiment and Transatlantic. The 1st listen to this album was incidental and I loved it instantly. I even went straight to HMV to buy it. After several listen, I like this extremely as I found the nostalgic feel of Yes-close to the adge and Genesis-Supper's ready in this album. I recommend this to every prog-rock fan and you surely won't be disappointed.
The composition and miscianship is excellent and I like all the songs in this album.

Remember when ASIA was a big deal? The first real prog rock supergroup with Steve Howe (Yes), Carl Palmer (ELP), Geoff Downes (Yes, Buggles) and John Wetton (King Crimson, UK). Well we have another one here! Here we have a true SUPER group with Mike Portnoy (Dream Theater), Neal Morse (Spock's Beard), Pete Trewavas (Marillion) and Roine Stolt (Flower Kings). All of these guys still kept their day jobs but this is no back seat side gig! What an amazing work! The limited edition is worth it with the demos and alternate takes! BUY THIS!

For the uninitiated, this project is made of Roine Stolt (Flower Kings), Neal Morse (Spock's Beard), Mike Portnoy (Dream Theater), and Pete Trewavas (Marillion). There is a VERY retro feel to this thing, much like Beatles/Floyd/Procol Harum/old Yes. NOTHING like the instrumental calisthenics of Portnoy's Liquid Tension Experiment project--not nearly as heavy and technically off-the-wall. There's chops to be sure, but this stuff GROOVES. A lot of jazzy/bluesy influences, and showcasing Hammond Organ, piano, electric guitar, and MELLOTRON (probably the best usage of that instrument I've ever heard!). Few to no synths present here, (sorry Jordan Rudess...) and lots of neat interaction between all involved. Trewavas shows off some rather tasty if subtle bass figures and grooves. Neal Morse gets some unexpected showoff time as a pianist and organist in fusion mode (Moraz minus most of his Moogs)while Mike Portnoy shows off some rather tasteful and surprisingly non-DT drumming. Roine Stolt...omigod, this guy is amazing. Steve Howe meets Dave Gilmour with a few Satriani shadings...can you say, "guitar god," anyone! Plus, he is uncannily the king of the mellotrons on this disk. Plus, lotsa vocals and harmonies...Morse gets most of the leads in this field, but he gets good support all around. Lyrics? Mix of Spock's Beard and the Flower Kings fare, not bad, usually catchy. Actually, the whole disc is more symptomatic of something the Beard or FKs might do instead of Marillion or Dream Theater...I know Jim Matheos of Fates Warning was originally tapped for the guitarist slot, but Stolt is probably a better fit for this particular group--the whole thing is quite vintage, Beatlesque, catchy, upbeat, playful, off-the-wall, and pleasantly insane with groove. Put the prog-metal away for a while and listen to these slightly disturbed gents--you might be pleasantly surprised.

Wow. This collection of compositions are unlike anything I've heard from Dream Theater or LTE, both of which I'm a big fan. I've heard some Flower Kings and Spock's from the Progfest '97 album, so I was kinda familiar with their work, and had high expectations.

As is the case these days with anything featuring said artists (especially Mike Portnoy), I was tremendously satisfied. The epic track "All Of The Above" will send shivers down your spine at certain moments (especially the beautiful outro), and the members fuse as a group through all of the songs, and show off their chops as a collective, not for showing off's sake; they do it not with cockiness, but with confidence -- confidence that they are some really talented (multi-) instrumentalists.

Don't come in expecting "modern rock" that sticks to the 90's progressive movements of each member's genres -- this is all over the place, with shades of space music, jazz, funk, experimental rock, and 70's prog.

Transatlantic (or is it SMPTe? :) is also ideal for fans looking for a change from the current rock climate and for those who can appreciate music that strays from the beaten path into new and unfamiliar horizons.

So this one is interesting. What you have on offer are members of Spock's Beard, Marillion, Dream Theater and the Flower Kings, and of course it sounds like absolutely none of the above.

I love all those bands, so I was more than mildly curious about the result of the work this exceptional team would create.

I am not sure if this is an absolute classic masterpiece, it's too deeply rooted in the patterns of the "classic" prog of the 70s for that to be the case, but it's a very solid and often exciting 90s version of the way we used to percieve music. It's about as progressive as jam on toast (let's face it, "progressive" is a ludicrus term for this sort of music!) but take it for what it is and you should certainly find things to enjoy here.

I am pleased to note that other reviewers are sitting up and taking notice of Pete Trewavas' excellent performance on the bass, and the fact that Portnoy seems able to restrain himself is another welcome surprise.

Most of the actual music is much influenced by the hyper-active Neal Morse, a man whom seems to enjoy acting out the part as the member of Yes you never knew!

All in all, a higly enjoyable album.

This free-flowing, prog-rock masterpiece should please anyone who will settle for listening to a classic sound that they have probably heard before. The prog-rock critics - well, sit and be proud that you are NOT the only ones that might recognize this.

SMPTE's debut effort is filled with sound, a sound that brings one back to yesteryears of Yes and ELP, however infusing enough of today's 'sound' to bridge prog-rock nostalgia and present a symphonic blend of prog-rock with an edge to make the tired sound a new one.

I was immediately drawn to the 'Close to the Edge' beginning of 'All of the Above', and from whence it started, I was hooked on these guys. There is total respect paid to the classic prog rock hooks and sounds throughout, and the best part is that you feel truly 'lifted' after listening to it (cannot say that about many songs these days).

Transatlantic is MAGIC - put in in your collection today!

Over the past few years, Magna Carta, Metal Blade, et al. have been playing mix and match with members of virtually all of the top musicians on today's progressive rock scene. Those of us who are faithful fans of bands like Dream Theater were eagerly anticipating the releases of side projects like Liquid Tension Experiment, Explorer's Club and Platypus. Progheads across the world have met many of these side projects with mixed feelings: most, however, seem to feel that the side projects have succeeded mainly in putting a different twist on an already existing musical formula. True, most of the more recent discs exhibit masterfully executed musicianship...but after all, that is exactly what we listeners expect from such performers.

However, with the release of Transatlantic's debut disc, we find something very original, surprisingly unique and performatively unexpected. This is a total band effort -- everyone shines, but no one shines so much that they overpower their fellow comrades. The perfect mix of originals and covers showcases the band's artistic creativity and inspired interpretation.

For a few bucks more, the import provides some additional goodies (alternate takes, additional jams, etc.) that are way too cool to miss. Check this disc out and keep your fingers crossed that the guys at Magna Carta can keep hooking up a diverse mix of players like Transatlantic!